For over half a century, Kathakali has been present in the global cultural map, as has Koodiyattam to some extent. The popularity these art forms enjoy today is the result of the pioneering efforts of several stalwarts in the 1960s. One of them, undoubtedly, was the Italian-born Milena Salvini, whose knowledge of and commitment to Indian artistic heritage was awe-inspiring. This staunch patron of India’s performing arts passed away recently in Paris, where she was heading ‘Centre Mandapa’, founded in 1975.
In 1965, Milena came to Kerala Kalamandalam on a scholarship to train in Kathakali. She soon realised the depth of this dance-drama tradition and how its appeal should extend beyond Kerala. Milena was particularly drawn to Kathakali’s chathurvidhaabhinaya — body movements, facial expressions, verbal acting, elaborate make-up and costumes.
In 1967, she organised a four-month performance tour by a troupe of eminent artistes under the Kerala Kalamandalam banner. It was a remarkable attempt to take the dance-theatre form, traditionally performed in temples, to the proscenium stage. It was the first time that the art form was performed in the West. It was no mean task to present abridged versions of huge productions based on the Ramayana and Mahabharata. Several rehearsals were held to ensure that the recitals stuck to the prescribed time limit of two and a half hours. It was a great challenge both for Milena and the artistes. Her determination combined with the support of the troupe proved to be a milestone in the history of Kathakali. The recitals conducted in most of the European countries and Canada were a huge success.
Milena Salvini
Stickler for tradition
In the late 1970s, she launched an ambitious and unique project to film the Kathakali versions of the epics against a natural backdrop. Top-ranking artistes participated, braving the cold of the West.
Milena regularly invited Kalamandalam’s Kathakali troupe for performances in France and neighbouring countries. She was meticulous in selecting actors, vocalists and instrumentalists. For her, merit alone mattered.
In the beginning of the new millennium, a huge Kathakali troupe, led by Kerala Kalamandalam, visited Paris again at Milena’s invitation. The performances were held over two nights, with narrations displayed in French, at Theatre du Soleil. The hall was packed. When the performance was about to begin, Milena noticed that one of the vocalists was wearing a watch. She immediately sent her assistant to the stage to tell the artiste to remove it. When it came to traditional Indian arts, Milena was a stickler for convention.
In the early 1980s, with support from Indian Council for Cultural Relations, Milena also organised Koodiyattam performances in Paris and nearby cities for select gatherings. She later invited a thullal troupe too from Kalamandalam for its maiden tour to France. A solo dance theatre narrative, thullal’s powerful sahitya (literature) is a blend of Malayalam and Sanskrit. According to Milena, language was not an impediment to appreciating an art form. She was honoured with the Padma Shri in 2019.
The writer is a critic and connoisseur of traditional
art forms of Kerala.
